Terry Nation Doctor Who What work did he do on Doctor Who? writing the second Doctor Who serial, What contributions did he make? The serial introduced the eponymous extraterrestrial villains that would quickly become the series' most popular and enduring monsters, and resulted in a major merchandising success for the BBC. What was the name of these villains? The Mutants Did he state how he came to create these characters? unemployed, and with a young family to support, When was he hired to produce these characters for Doctor Who? 1965, Did he create anything else for the series? Having risen in the public consciousness, Nation went on to contribute further scripts to Doctor Who. In 1965,
What scripts did he contribute?
What scripts did Terry Nation contribute on Doctor Who?
Prior to this, Nation had declined an offer from scriptwriter David Whitaker to write for a new science-fiction programme that was entering production at the BBC; Whitaker had been impressed by a script that Nation had written for the ABC anthology series Out of this World. Now unemployed, and with a young family to support, Nation contacted Whitaker and accepted the offer, writing the second Doctor Who serial, The Daleks (also known as The Mutants and The Dead Planet). The serial introduced the eponymous extraterrestrial villains that would quickly become the series' most popular and enduring monsters, and resulted in a major merchandising success for the BBC.  Having risen in the public consciousness, Nation went on to contribute further scripts to Doctor Who. In 1965, Nation and Dennis Spooner co-wrote the 12-part serial The Daleks' Master Plan, after which Nation, who still held the copyright to the Daleks, attempted to launch a Dalek spin-off TV series in the United States. Various other Dalek tie-in material appeared, including comic strips in the children's weekly TV Century 21 and annuals; such material was frequently credited to Nation, even when written by others. Between 1966 and 1972, appearances by the Daleks in Doctor Who became less frequent and were written for the series by other authors.  In 1973, following an eight-year absence from scriptwriting for the series, Nation returned to writing for the Daleks on Doctor Who with the Third Doctor serial Planet of the Daleks. In 1998, readers of Doctor Who Magazine voted Nation's 1975 serial Genesis of the Daleks the greatest Doctor Who story of all time. In the story, Nation introduced the character of Davros, the creator of the Daleks, who went on to appear in further storylines.  Nation also wrote two non-Dalek scripts for Doctor Who, The Keys of Marinus in 1964, which introduced the Voord and The Android Invasion in 1975, which introduced the Kraal. During this time, Nation also worked in commercial TV, contributing scripts to series such as The Avengers, The Baron, The Champions, Department S, The Persuaders! and The Saint.  Nation's work on Doctor Who was the subject of the documentary Terror Nation, a special feature on the BBC DVD release of the serial Destiny of the Daleks. CANNOTANSWER
Doctor Who. In 1965,
Terence Joseph Nation (8 August 19309 March 1997) was a Welsh screenwriter and novelist. Especially known for his work in British television science fiction, he created the Daleks and Davros for Doctor Who (1963), as well as the series Survivors (1975) and Blake's 7 (1978).

Nation first made his name as a comedy writer before becoming a prolific writer for drama, working on many of the most popular British series of the 1960s and 1970s such as The Avengers, The Baron, The Champions, Department S, The Persuaders! and The Saint. When Nation was commissioned to write The Daleks (1963) for Doctor Who, the villainous eponymous creatures established the series' early popularity. He later devised the recurring character of Davros in Genesis of the Daleks (1975). His series Survivors and Blake's 7 have been described as "much-loved cult TV classics".

Life and career

Early years
Born in Llandaff, Cardiff, Wales, Nation initially worked in comedy, entering the industry in 1955 after a (possibly apocryphal) incident in which Spike Milligan bought a sketch that he had written because he thought that Nation appeared hungry. During the 1950s, Nation worked with John Junkin and Johnny Speight for the writers' agency Associated London Scripts, where he collaborated on hundreds of radio plays for comedians such as Terry Scott, Eric Sykes, Harry Worth and Frankie Howerd.

His career break came in 1962, when he was commissioned to write material for Tony Hancockfirst for Hancock's unsuccessful series for Associated Television broadcast on ITV in 1963, and then his stage show. Although Nation accompanied Hancock as his chief screenwriter on tour in 1963, Hancock would regularly neglect Nation's scripts in favour of recycling his old material. Following an argument over this, Hancock either fired Nation, or Nation resigned (it is unclear which).

Doctor Who
Prior to his association with Hancock, Nation had declined an offer from scriptwriter David Whitaker to write for a new science-fiction programme that was entering production at the BBC; Whitaker had been impressed by a script that Nation had written for the ABC anthology series Out of this World. Now unemployed, and with a young family to support, Nation contacted Whitaker and accepted the offer, writing the second Doctor Who serial, The Daleks (also known as The Mutants and The Dead Planet). The serial introduced the eponymous extraterrestrial villains that would quickly become the series' most popular and enduring monsters, and resulted in a major merchandising success for the BBC.

Nation contributed further scripts to Doctor Who. In 1965, Nation and Dennis Spooner co-wrote the 12-part serial The Daleks' Master Plan, after which Nation, who still held the copyright to the Daleks, attempted to launch a Dalek spin-off TV series in the United States. Various other Dalek tie-in material appeared, including comic strips in the children's weekly TV Century 21 and annuals; such material was frequently credited to Nation, even when written by others. Between 1966 and 1972, appearances by the Daleks in Doctor Who became less frequent and were written for the series by other authors.

In 1973, following an eight-year absence from scriptwriting for the series, Nation returned to writing for the Daleks on Doctor Who with the Third Doctor serial Planet of the Daleks. In 1998, readers of Doctor Who Magazine voted Nation's 1975 serial Genesis of the Daleks the greatest Doctor Who story of all time. In the story, Nation introduced the character of Davros, the creator of the Daleks, who went on to appear in further storylines. Nation also wrote two non-Dalek scripts for Doctor Who, The Keys of Marinus in 1964, which introduced the Voord, and The Android Invasion in 1975, which introduced the Kraals. Nation's final script for Doctor Who was Destiny of the Daleks, broadcast in 1979.

His work on Doctor Who was the subject of the documentary Terror Nation, a special feature on the BBC DVD release of Destiny of the Daleks.

Out of the Unknown
Nation's first work on the science-fiction anthology series Out of the Unknown was scripting an adaptation of Ray Bradbury's short story The Fox and the Forest in 1965 for the show's debut series. It was about a 21st century couple taking a forbidden trip to Mexico in 1938, only to be followed by enforcers from the future. It is one of only two episodes from the first series to be considered lost, with only two photographs and the end titles known to exist.

In 1969, when the show began to be produced in colour, Nation granted permission for the Daleks to be used in the series three episode Get Off My Cloud, based on the story by Peter Phillips about a bed-bound science-fiction author who finds himself within one of his own fantasies after a mental breakdown. This would be the first time the Daleks had been shown in colour on television, although they had previously appeared in colour in the Peter Cushing films. Only production stills and low-quality audio extracts survive.

Survivors and Blake's 7
Having returned to writing for Doctor Who, the BBC commissioned Nation to create a new science-fiction drama series. First broadcast in 1975, Survivors is the post-apocalyptic story of the last humans on Earth after the world's population has been devastated by plague. Although the series was well received, Nation's creative vision conflicted with that of producer Terence Dudley, and the final two seasons were produced without Nation's involvement.

Meanwhile, screenwriter Brian Clemens claimed that he had related the concept for Survivors to Nation in the late 1960s while they were working together on the final season of The Avengers, with Clemens claiming to have registered the Survivors concept with the Writers' Guild of Great Britain in 1965; Nation denied the allegations. Although the case was ultimately brought before the High Court, both sides withdrew from the proceedings after their legal costs mounted.

The production of Nation's next BBC creation, Blake's 7, experienced fewer problems. This series follows a group of criminals and political prisoners who are on the run from the evil "Terran Federation", piloting a stolen spaceship of unknown origin. Blake's 7 ran for four series from 1978 to 1981.

Although Nation scripted the whole of the first series of Blake's 7, his creative influence subsequently declined in the following two series despite writing some key episodes, as script editor Chris Boucher exerted a greater influence on those seasons. Nation didn't write any episodes in the fourth series of Blake's 7. In the 1980s, Nation attempted, without success, to secure funding for a fifth season of Blake's 7. During the 1970s, Nation wrote a children's novel for his daughter Rebecca (after whom he named the character of Rebec in the 1973 Doctor Who serial Planet of the Daleks) titled Rebecca's World: Journey to the Forbidden Planet, as well as a novel based on Survivors.

United States
In 1980, Nation moved to Los Angeles, where he developed programme ideas and worked for various production studios. Little of his work from this time was as successful as that of his earlier period in Britain. He wrote scripts for the TV series MacGyver (1985) and A Fine Romance (1989).

Death
Nation died from emphysema in Los Angeles on 9 March 1997, aged 66. Shortly before his death, he had been collaborating with actor Paul Darrow on another attempt to revive Blake's 7.

Writing credits

Awards and nominations

In 2013, Nation was commemorated with a blue plaque at the house in Cardiff where he was born.

Bibliography
Survivors (1976, )
Rebecca's World: Journey to the Forbidden Planet (1978, )

References

Further reading
 Turner, Alwyn W.: The Man Who Invented The Daleks: The Strange Worlds of Terry Nation, London: Aurum Press, 2011, .

External links
 
 
 
 Terry Nation profile, Museum of Broadcast Communications, museum.tv; accessed 26 December 2014.

1930 births
1997 deaths
20th-century British novelists
BBC people
British male novelists
British male screenwriters
Welsh radio writers
British science fiction writers
Deaths from emphysema
Welsh comedy writers
Welsh expatriates in the United States
Welsh novelists
Welsh science fiction writers
Welsh screenwriters
Welsh television writers
Writers from Cardiff
People from Llandaff
20th-century British male writers
British male television writers
20th-century British screenwriters
In the behaviorism approach to psychology, behavioral scripts are a sequence of expected behaviors for a given situation. Scripts include default standards for the actors, props, setting, and sequence of events that are expected to occur in a particular situation. The classic script example involves an individual dining at a restaurant.  This script has several components: props including tables, menus, food, and money, as well as roles including customers, servers, chefs, and a cashier.  The sequence of expected events for this script begins with a hungry customer entering the restaurant, ordering, eating, paying and then ends with the customer exiting. People continually follow scripts which are acquired through habit, practice and simple routine. Following a script can be useful because it could help to save the time and mental effort of deciding on appropriate behavior each time a situation is encountered.

Psychology
Semantic memory builds schemas and scripts. With this, semantic memory is known as the knowledge that people gain from experiencing events in the everyday world. This information is then organized into a concept that people can understand in their own way. Semantic memory relates to scripts because scripts are made through the knowledge that one gains through these everyday experiences and habituation.

There have been many empirical research studies conducted in order to test the validity of the script theory.  One such study, conducted by Bower, Black, and Turner in 1979,  asked participants to read 18 different scenarios, all of which represented a doctor’s office script.  The participants were later asked to complete either a recall task or a recognition task.  In the recall task, the participants were asked to remember as much as they could about each scenario.  Here, the participants tended to recall certain parts of the stories that were not actually present, but that were parts of the scripts that the stories represented.  In the recognition task, participants were asked to rate various sentences on a 7-point scale regarding their personal confidence that they had seen each sentence in the scenario.  Some sentences shown to participants were from the stories and some were not.   Of the sentences that were not from the stories, some were relevant to the doctor’s office script and others were not relevant to the script at all.  Here, participants tended to recognize certain non-story sentences as having come from the story if the non-story sentence was relevant to the script.  Ultimately, Bower, Black, and Turner’s study suggested that scripts serve as a guide for a person’s recall and recognition for certain things that they already know.

Behavioral scripts that people are taught allow them to make realistic assumptions about situations, places, and people. These assumptions stem from what are known as schemas. Schemas make our environments more approachable to understand, and therefore people are able to familiarize themselves with what is around them. When people become comfortable with what they find familiar, they are more likely to remember events, people or places that obscure from their initial thought or script.

Some people may have a tendency to habituate behavioral scripts in a manner that can act to limit consciousness in a subliminal way.  This can negatively influence the subconscious mind and, subsequently, can negatively affect perceptions, judgments, values, beliefs, cognition and behavior. For example, over-reliance upon behavioral scripts combined with social norms that encourage an individual to use these behavioral scripts may influence one to stereotype and develop a prejudiced attitude toward others based on socioeconomic status, ethnicity, race, etc.

Some applied behavior analysts even use scripts to train new skills and 20 years of research supports script use as an effective way to build new language, social, and activity routines for adults and children with developmental disabilities. With language scripts fading, efforts are being made in an attempt to help the scripts recombine in order to approximate more natural language.

Much of the development of scripts first addresses language and how it influences what we know and understand. With language, many psychologists have used the specific study of language to develop theories about concepts and scripts. In particular, researchers recognize semantic memory development is mostly possible through verbal-linguistic stimuli. Language and memory are constantly used for people to be able to interpret what experiences or people mean to or relate to them. Here, language has influence on the scripts people use because of its relationship to semantic memory.

There are also instances where damage to a person’s script affects to their ability to understand concepts. For instance, Sirigu, Zalla, Pillon, Grafman, Agid, and Dubois (1995) conducted a study on brain-damaged patients and their ability to access scripts that relate to a certain situation. Within their study, they asked patients with brain-damage (particularly to their prefrontal cortex) to make as many scripts for different situations as they could and put them in their commonly known sequence. These researchers found that those with prefrontal brain damage could make just as many scripts for different situations as those without prefrontal brain damage. Although with finding this, these researchers also found that patients with prefrontal brain damage had a difficult time putting in order or sequencing the events that happen within a script. They concluded that the prefrontal brain-damaged patients had difficulty within finding the goal of each script, where each script has a specific thing that a person looks for to achieve. For example, within the script of going to a restaurant, the goal of the dinner would be to eat, where prefrontal brain-damaged patients are likely to see the goal of this script as paying for the meal or ordering for the food.

See also
 Frame (artificial intelligence)
 Knowledge representation
 Psychology
 Schema (psychology)

Notes

Behaviorism
Cognition
Services marketing Anga Lipi(অঙ্গ লিপি) is a historical writing system or script of the Anga area of India. The Anga Lipi finds its mention in the Buddhist text "Lalitvistar" which says Anga lipi was one of the most important scripts among the 64 scripts known to Lord Budhha.

Etymology and history
Anga refers to a region in what is now Bihar and Jharkhand states of India, and Lipi means script.
The Anga Script is mentioned in an ancient Sanskrit language Buddhist book the "Lalitvistar" (ललितविस्तर), which names Anga Lipi relatively early in the list of 64 scripts known to the Buddha. Arthur Coke Burnell thought that some of the sixty-four scripts mentioned in "Lalitvistar" were mythical, but he considered some, including Dravid, Anga and Banga, to be real, though not appearing as distinct alphabets until the 9th or 10th century CE. (Burnell regarded this passage as a late interpolation.)

Characteristics and comparison
Anga Lipi and Bengali script might have been derived from Brahmic, with some regional characteristics. This supports the belief that the development of local characteristics in alphabets was continuing from earlier times.

It reflects the early development of local variants of Indian alphabets.

See also
Brahmic family of scripts
Brāhmī script
Bengali-Assamese script
Kaithi
Abugida
List of writing systems
List of languages by first written accounts
Angika
Middle Indo-Aryan languages

References

External links
 angika.com

History of writing
Linguistic history of India
Brahmic scripts